The Reel East Film Society is proud to present a screening of the REFF Official Selection-SaintSinner Entertainment's indie drama A MAN POSSESSED written & directed by Amel J. Figueroa. The event will also include a selection of short films in competition. It will be held on Friday October 6th at the CIM building-Camden County College in Blackwood, NJ. The event starts at 5pm with short films before the screening of A MAN POSSESSED at 8pm.

The Fort Lee Film Award for Best Regional Indie Film goes to SICKNESS (dir: Brandon E. Brooks)

The Edison Prize for Best Short Film goes to KITCHEN (dir: Steve Duchesne)

The Porter Prize for Best Student Short goes to KING ME (dir: Julian Lipoff)

The entire REFF team would like to thank everyone who submitted to this festival,to everyone who attended our event and to all of the filmmakers who continue to challenge themselves and audiences with their personal visions.

What exactly is Stephen King’s “Dollar Deal”? Let's allow the author to explain it himself:

“Around 1977 or so, when I started having some popular success, I saw a way to give back a little of the joy the movies had given me. 1977 was the year young film makers - college students, for the most part - started writing me about the stories I'd published (first in Night Shift, later in Skeleton Crew), wanting to make short films out of them. Over the objections of my accountant, who saw all sorts of possible legal problems, I established a policy which still holds today. I will grant any student filmmaker the right to make a movie out of any short story I have written, so long as the film rights are still mine to assign. I ask them to sign a paper promising that no resulting film will be exhibited commercially without approval, and that they send me a videotape of the finished work. For this one-time right I ask a dollar. I have made the dollar-deal, as I call it, over my accountant's moans and head-clutching protests sixteen or seventeen times as of this writing (1996).”

Well that number has grown substantially since 1996 and the Reel East Film Festival has screened a selection of “Dollar Babies”, as they are called, every year since its inception. The films vary wildly in budget and skill but all of them are unique works rarely seen because of the understandable restrictions King places on them. They can only be screened in film festivals or in some other non commercial venue.

This year, Reel East is screening three “Dollar Babies”. Dave Brock’s The Road Virus Heads North, Dean Werner’s The Reaper’s Image and Pablo Macho Maysonet IV’s adaptation of The Things They Left Behind.

The Things They Left Behind is a particularly tricky story to adapt. Its subject is the tragedy of 9/11 and although it contains suspense and the supernatural it is not a traditional horror story, focusing much more intensely on human drama and emotional catharsis.

Maysonet is originally from South Jersey where he made an indie feature and several shorts before tackling the King adaptation. He now resides in Los Angeles where he created the web series Fear of My Flesh for Eli Roth’s Crypt TV.​​I wanted to speak to Maysonet about the challenges of making a film out of the King story and about indie filmmaking in general.

When did you start making films and what are your influences and inspirations?

I started producing my own films back in 2003 which lead to my first feature going into 2004. My influences vary for very different reasons depending on what I am trying to accomplish at that moment in time. I try to keep the inspiration at a distance and never try to emulate. There's a thin line there that's easy to cross, which I believe is the mistake most filmmakers make early in their careers. Hitchcock and Kubrick are by far my most inspirational filmmakers because they redefined filmmaking in their own ways. They were truly masters of storytelling. However, Clive Barker, Guillermo del Toro, and of course, Stephen King are some of the most vivid storytellers out there. Cronenberg is in my top 5 because that's a man that truly has no filter in what he wants to produce. Dario Argento can be seen as the most influential in what I would assume is my visual style of filmmaking.

Why did you choose THE THINGS THEY LEFT BEHIND to develop into a movie?

The challenge. Out of all the properties available at the time, this was the one I felt many filmmakers would be intimidated to touch. The story was close to me considering I had a personal connection to the tragedy on 9/11. I felt that this can be told in a way that can connect with an audience, but didn't believe another filmmaker would approach it the way I would. I feared others may go too dramatic or too horrific. It needed a balance that I knew I could deliver.

Did the sensitivity of the subject matter make you at all uncomfortable? Was the use of 9/11 imagery in the movie a controversial choice?

At first it was uncomfortable, but only because I saw how uncomfortable it made my team once I presented it to them. I had faith in my vision, I had an intense respect for Stephen's vision, now it was just my job to allow my team to see that vision. Once they did, there was no going back. We felt a duty to follow through with it.

Using the actual footage was a decision I made from day one. Before I even began adapting the story into a screenplay, I knew I was going to use the footage. Film is about making your audience have a reaction to what you create. To have a connection to what they see and hear. Adding in that footage helped cement that connection and also reminded them there was a real stake in what was being presented. There was a realism that shouldn't be ignored.

What are the benefits and drawbacks involved with the “Dollar Deal”?

The obvious benefit is that you're making something approved by the master himself. There's instant recognition there that gives a filmmaker a level of credibility they may not have had before then. A person is more likely to spend their time watching your film when they know King is behind it. However, a major drawback is that you have to deliver. King's work isn't easy, no matter how simple the story is. He writes deep stories and if you are not a knowledgeable filmmaker, you run the risk of screwing up a masterpiece. Having a camera and knowing how to edit doesn't mean you know how to tell a compelling story.

Do you think that adapting a King story has helped call attention to your other work ? Did it help move your filmmaking career forward?

Yes it did, in a positive and negative way. Moving forward, it has given my current work attention but people also look up my past work. Although I don't regret my work, I am realistic enough to know a lot of it was sh*t lol. However, I grow and my work grows with me. As my films evolve, this film does give them additional attention.

Would you recommend making a Dollar baby to other filmmakers ?

I think if you're serious about your craft and you have a general knowledge of the trade, yes. I guarantee, regardless of the name above the title, it won't make your film better if it's made terribly. A hard part is done, the story exists, but you still have to make it translate to film. It's a great challenge for anyone who needs to push themselves to the next level. But it can be a humbling experience if you're not mentally where you need to be.

Do you believe that it’s more advantageous to make a short film these days over an indie feature?

That's a loaded question lol. It's something that's still in debate and before I moved to LA I'd say it's a waste of time. However, working with digital companies like Crypt TV, I’ve seen that there is a market there. It's just not the one most filmmakers think it is. I can get into a really deep analysis on what works but that'll be a bit too long lol. I can say that the 3-10 min short is pretty much dead, but only when you intend on getting a big studio deal out of it. Yes, there are exceptions to the rule. But if you look at David Sandberg's short "Light's Out" (who went on to make a feature of his short and Annabelle: Creation) or Fede Alvarez's "Panic Attack" (Evil Dead remake, Don't Breathe) these guys were already well on their way. Those shorts were polished and well made. The stories were attention grabbing. They put in their time and had fine tuned their craft. If you believe you're there, then go for it. But I'd aim at a really short film. People don't have the attention span these days thanks to social media. Just know if it's long, it truly is about timing and getting it seen by the right people. Personally, I'd say cut your teeth on a feature. Sure, it may go no where, but you have something over everyone that's making shorts...you've made a feature. You've captained a long journey and have an experience that will translate quickly to your goal. Remember, the goal is always a professional feature, not a professional short. My first film was sh*t (lol) but it got picked up for worldwide distribution and was in stores everywhere. Regardless how bad it was, there was still a market for it. Do you think a sh*tty short would do the same?

What projects are you working on? Are you still working with Eli Roth’s Crypt TV?

I have several features in active development. That's what all filmmakers are supposed to say lol. However, in my case, it is true. I've been lucky enough to make some really good relationships in the past 2 years that are opening the doors for promising features and 2 TV series for two major studios. Can't go into details because the obvious lol but there's opportunities to have something coming soon.

I understand you are now living and working in LA-do you think that filmmakers working in places like NJ as you once did would benefit from moving closer to the film industry?

Absolutely...IF...they come prepared. I had a lot of things already in place when I made my move. I came prepared and had a game plan so by my 1st month in LA in was already working on major projects. Within 4 months I'd worked on studio films by Universal, Paramount, CBS, A24 and FOX. And consider, I came to LA with one phone number and no formal education in the industry. The opportunities are here if you have the passion, the drive and the talent. I would have NEVER been able to do the things I've done, and make the relationships I've made, if I weren't in LA. This doesn't mean you can't make awesome movies anywhere, because by all means you can. But there's nothing like working in the center of the industry. The experiences alone are worth the trip. You just have to have a clear path and stay focused regardless of the lumps you'll take. If a studio like Netflix calls today asking for you to come in and pitch this afternoon (which happens with A LOT of studios), you can't make that meeting from Jersey lol. Right place, right time!

The Things They Left Behind screens on Saturday June 17th at the Third Annual Reel East Film Festival.

Reel East's Irv Slifkin interviews the director of THE GREEN GIRL a documentary about Star Trek's iconic "green girl" Susan Oliver which screens at the Third Annual Reel East Film Festival on Saturday June 17th at 2pm.

"In 'The Green Girl' director George A. Pappy Jr. delves into the incredible life of Susan Oliver, revealing her unpredictable life through film clips, still photos, archival footage, and interviews with people in the industry, relatives, and experts who were close to her."

Reel East will be presenting their third annual film festival on Saturday June 17th! This is a FREE event and all are welcome to attend! The festival will be held at the William G. Rohrer Center of Camden County College 1889 Marlton Pike East, Cherry Hill, New Jersey 08003.

You can pre-register your tickets online or at the door on the day of the festival. To pre-register go to the following link:

Reel East is proud to announce the appearance of Tiela Garnett, daughter of Golden Age director Tay Garnett (The Postman Always Rings Twice), for a 5pm discussion followed by a screening of Her Man (1930) and a Q and A. Garnett will also screen selected clips of her father’s work and discuss his career and her writing about growing up in Hollywood.

At 8pm, Reel East will host the world premiere of Sickness by New Jersey writer-director Brandon Brooks, to host with a Q and A to follow.

Full Schedule for REFF, 2017:

Theater 1:11am: "24 HOUR COMIC": a new documentary by Milan Erceg on a day-long race to create comic books by some of the best and brightest in the field (many of whom offer on-screen commentary). This un-contest (no awards are given – just bragging rights!) filmed in a Portland, Oregon comics store in 2013 is an example of a nationwide “holiday” created by Scott McCloud and launched in 2004.

2pm:" THE GREEN GIRL": a feature documentary celebrating the life and unheralded success of actress Susan Oliver, best known for her role as the eponymous figure in the original series Star Trek (1966-69). In 1964, Oliver starred in the show’s rejected pilot as Vina, though her image was famously incorporated into the show’s end credits and later recycled on another episode. Oliver contained multitudes that extended well beyond this passive role. An accomplished pilot and prolific television star, she captivated audiences herself for years, eventually turning her attention behind the camera. The latest from director George Pappy (Few Options) finds Hollywood history beneath layers of green paint.

5pm: Tiela Garnett, daughter of classic Hollywood director Tay Garnett (The Postman Always Rings Twice, Bataan) will present her father’s 1930 film, HER MAN, along with a program of other clips from his works. "Her Man", a tough and delightful version of “Frankie and Johnnie” starring Helen Twelvetrees and Ricardo Cortez, is set in a Havana bordello and features groundbreaking cinematography for its era.

8pm: The world premiere of SICKNESS, starring Katarina Leigh Waters, Brian O’Halloran, Gary Gustin, and Fallon Maressa. A viral outbreak in the Delaware Valley thrusts several strangers together for a survivalist take on chills and suspense. Writer-director Brandon Brooks and cast members will present the film with Q and A following.

11pm: RED CHRISTMAS, in which festive hell breaks loose on Christmas Eve in the Australian Outback when a mysterious, vengeful drifter pays a bloody visit to an unsuspecting family. Giallo visuals and provocative undertones of the abortion debate combine for an explosively weird feature debut from TV actor/director/producer Craig Anderson. Horror luminary Dee Wallace (The Hills Have Eyes, The Howling, Cujo, Critters) stars in this genre curiosity that Variety calls "an energetic, candy-colored romp."

Theater 2:

11AM: PRODUCTION PROBLEMS, Indie feature film by local filmmaker John Cassidy. Shawna is a born to be a video production student. Unfortunately, her brother Jack doesn't think so. When old Video Production alumni get word of how sheltered she is, they take action, and try to take her to safety to meet her pen-pal, James, in New York. Not only is she in for the adventure of a lifetime with insanely immature 20 year olds; she's off on a journey to find out who she really is. A Comedy/Drama/Adventure

2PM:The Films of Herbert Dawley: Newly restored versions of two amazing, silent special effects-oriented productions by New Jersey resident Herbert Dawley, a pioneering animator and film director. Willis O’Brien of “King Kong” fame directed and is featured in “The Ghost of Slumber Mountain” (1918), in which Dawley himself relates stories to his nephews about how he encountered such dinosaurs as a Brontosaurus and Triceratops beyond Slumber Mountain. And O’Brien and Hawley share director’s credit on “Across the Moonbeam Trailer” (1920) in which two children are taken on a magical and dangerous ride to the moon where they doge dinosaurs. Total running time: Approximately 35 min.

Followed by blocks of short films and student works In competition for one of our prizes (Schedule TBA)

5PM: Stephen King's DOLLAR BABIES: "What in the world are dollar babies?"

For years Stephen King has been allowing student and independent filmmakers to legally adapt his short stories (not his novels) for the cost of one dollar. This became known as the "Dollar Deal" and the films as "Dollar Babies".

Of course, filmmakers cannot profit from the films financially. They can only use the films to practice their craft or to demonstrate their talents at film festivals or private screenings. Reel East is proud to be able to screen these rarely seen films.

The Second Annual Reel East Film Festival is now a thing of the past. For all of us working tirelessly to bring this ambitious undertaking to you, the festival was always a thing of the future. As with most things looked forward to, it went by so fast it was hard to process. So we will spend the next few days slowly processing what we experienced and to present some of those highlights here to you, but for now we present you with our official 2015 award winners. Remember, Reel East hands out six major prizes which can go to either a short or a feature depending on quality. We would like to thank all of the filmmakers who submitted this year. Without your interest and involvement we would have nothing to present. We are proud of all of you for your hard work and discipline. EDISON PRIZE-Children of the Night (Argentina) Dir: Ivan NoelPORTER PRIZE-Revolving Child (USA) Dir: Francisco CabreraGOODWIN PRIZE- It's a Frame Up! (USA) Dir: Michael Schlesinger AUDACITY PRIZE- Emily DiPrimio for CARVER JURY PRIZE-Subterranea (USA) Dir: Matthew MillerREGIONAL PRIZE- Disco Zal (USA) Dir: Sean McKnight